GRAMOPHONES

Sun (Auckland), Volume III, Issue 748, 22 August 1929, Page 16

GRAMOPHONES

SEPTEMBER RECORDS FROM H.M.V. LIST Two of the best vocal records of the H.M.V. September issue are by Lucrezia Bori and Essie Ackland. One is a soprano and the other a contralto, but both sing with a purity of tone and simplicity that is particularly pleasing. Lucrezia Bori sings two well-known numbers from “Mignon” in “Conaistv le pays” (Knowest thou the Land;, and “Me voici dans son Boudoir” (Here I am in her Boudoir). The first number, that pretty little melody in which Mignon sings of her impressions of her native land, is sung with very fine expression. The well-known gavotte from Act 11. completes a good record. (D.A., 1017). The full, rich contralto of Essie Ackland does full justice to the “Elijah” number, “O Rest in the Lord” and Sir Landon Ronald’s “O Lovely Night.” There is expression and an appeal in this voice which suits it admirably for oratorio. Among lovers of oratorio this record should be in keen demand. Landon Ronald's beautiful song is equally as well sung. (C 1631). A fine pianoforte recording by Harold Bauer contains Liszt’s “Etude in D Flat” and Schumann’s “In the Night.” Here is a good bracket played by a pianist of outstanding qualities. The usual Liszt difficulties Bauer slips over with consumate ease. His left hand work is of particular interest. The well marked melodic line in the Schumann number is tastefully handled. D.B. 1252). For those who like choruses two brackets by Stuart Robertson and chorus will be welcome. The numbers, “Clementine,” “Solomon Levi.” “There’s a Tavern in the Town” and “John Feel” are all old favourites. Stuart Robertson has a fine voice tor these numbers. Paul Robeson, of “Show Boat” fame, is also a contributor to the September list with three Spirituals. Those who like this singing will no doubt fully approve of “Weepin’ Mary,” "I Want to be Ready” and “My Lord What a Morning.” Robeson has a very fine bass voice which is well suited to this class of music. Brilliant Anna Case sings “My Pretty Jane, the Bloom is on the Rye” (Bishop) and “My Laddie” (Thayer), Columbia 03627. This soprano’s sensational burst into fame is one of the traditions of the Metropolitan Opera House, New York. She was chosen by Andreas Dippel, the director of the institution, as the result of a chance hearing, only 18 months after her first lesson. Only a voice that was born to sing could achieve distinction after such slender training Her first successes were in grand opera, although for many years now her reputation has been consolidated as a concert recitalist. And at last she has made records for Columbia, and through Columbia for the whole world. The first 10inch disc is a ballad double, not by any means displaying to the full Miss Case’s glorious vocal resources, but providing what is easily the finest versions of these beloved favourites that the gramophone has given us. • • * “Casey Selling Patent Medicines” and “Casey’s Address to his Comrades in Arms” are humorous sketches by Michael Casey and Co. (Columbia 01396). Records of good Irish humour are not common. In fact humorous records of really universal appeal and appreciation are few and very far between. To say that this record is a “world beater” would probably strike some folk as exaggeration. On the other hand, others might call it under-statement. Humorous records are a matter of taste. Your best plan is to hear and judge for yourself.

The illimitable Will Fyffe gives us j “Sailing Up the Clyde” and “Ye Can Come and See the Play.” Scotland’s great comedian has made a wonderfully humorous record of these two numbers. “Sailing Up the Clyde” will rank among the classics of sparkling humour, for iti s immensely funny, and sung with all the irresistible humour for which he is so well known. This will be a big favourite. A singer whose appearance in New Zealand will be awaited with interest is Dusolina Giannini (Soprano), who records “Just a-Wearyin’ for You” and “I Love You Truly” (Jacobs-Bond). H.M.V. DASOS). The rapid rise of Dusolina Giannini, the young Italian soprano, who within a few years made a brilliant career both in Europe and America, where she had studied under Marcella Sembrich, has prominently brought her before discriminate audiences. Her records are very fine, the two arias from “Aida” IDB1093) being superbly sung. In the above two songs the beautiful voice, artistic phrasing and sincerity of Miss Giannini cannot fail to make a fine impression. The approaching Australian tour of Dusolina Giannini will be *one of the important events of the 1929 concert season.

The Grand March from “Aida” (Verdi), in two parts, is sung by the La Scala Chorus with the Milan Symphony Orchestra. (Columbia 02503). This is by far the finest recording of the great triumphal march. The famous chorus and orchestra are superbly full-toned and telling, and the reproduction is so vivid that the whole pageantry of the stage scene is brought before us. This record is a worthy successor to the marvellous “Otello” choruses, recorded a few months ago by La Scala. * * * Six “Moments Musicaux” (Schubert—Op. 94), are pianoforte solos by ■Ethel Leginska. Columbia 01317-20. Schubert’s “Moments Musicaux” are a series of short piano pieces of varying moods, but mostly of a “songs without words” character. Some are short like the spirited No. 1 in C, with its merry first subject like a call on the Swiss alpenhorn, and the charming No. 3 in F minor, known to everyone nowadays as the “Bridesmaids’ Dance” in “Lilac Time.” Some are more extended, such as the No. 2 in a flat, pensive and at times sombre, and with a very beautiful second subject, which certainly suggests a story. No. 2 has an old-world “moto perpetuo,” to which a pastoral and songlike middle part afford contrast. No. 5 is more agitated and strongly ryhthmic, while No. 6 is very expressive. * * * “Seit ich ihn Gesehen” (Schumann), “In Dem IVeiten,” and “Reingestimmt die Saiten” (Dvorak) are sung by Elsa Alsen, soprano. Columbia 02598. The gramophone has rarely produced a lovelier example of German lieder singing that the latest record of Elsa Alsen, the German soprano who has now settled in America. Those who remember her “Stille Nacht, Heilege Nacht,” will recall the silver purity of her soprano and her superb ease of production. In her latest effort, besides a poetry of tone she achieves a poetry of interpretation. On one side she sings one of Schumann’s songs with deep thought and restraint, while on the reverse side two melodious little gems of Dvorak’s art are given with a richness of tonality and breadth of phrasing that are all too rare. A delightful little record from every point of view. * * * Condotta ell’era in Ceppi—from “11 Trovatore” (Verdi), is sung by Ebe Stignani, contralto. Columbia 03633. Stignani is a gloriously rich-voiced and temperamental artist who has made her name in the last season’s operas at Milan, which may be regarded as the headquarters of Italian opera. Make a name at Milan, they say, and you are fit to be sent out into the world. And, sure enough, Stignani is booked for next year’s season in New York, the goal of all opera singers. Her technique has all the polished virtues of the Italian school, but her native gifts are unique. In the lower register she is magnificently true and sweet. Her sense of drama carries along this impressive and tuneful aria with thrilling conviction. A great little band record to hand is a recording of two fine marches by the Royal Air Force Band. Both tunes have fine steady swings, and the tone of the band has a true military timbre. “Our Director” and “Repasz Bond.” (Columbia 01354.) Charles Hackett, the principal tenor of the Chicago Opera Company, is well known in this country by reason of his recitals here, and his records are always agreeable reminders of the quality of his voice. His voice is always resonant and well in tune, and his diction excellent, and his tone now seems rounder and broader than ever. He pairs two such old favourites as “I Hear a Thrush at Eve” and “The World is Waiting for the Sunrise,” and sings them with sincerity and fervour. (Columbia 01526.)